.. ---1iiJ

-... 1:11 G

Il -----.;;...

~

c:-

~f

~(

~(

!!:!JI!::

t~

.~

,,~

( <=;; C

' c=

(?, ::2:< , f}:::= =

t\~.

,,~

~

DE

SC

RIP

TIV

E

NO

TE

S

AR

E

INS

IDE

P

OC

KE

T

Lib

rary of C

ongress Card C

atalogue #R 66-3522

®©

1966 FO

LK

WA

YS

RE

CO

RD

S &

SE

RV

ICE

CO

RP

. 632 B

roadway. N

YC

. US

A 10012

CO

VE

R

DE

SIG

N

BY

R

ON

AL

D

CL

YN

E

,,'W1iiJ

-.. 1:11 1:11

FOLKWAYS RECORDS Album No. RBF 13 ©1966 by Folkways Records & Service Corp., 43 W. 61st St., NYC, USA 10023

THE REAL CALYPSO 1927-1946/Compiled and Annoted by Samuel Charters/RBF 13

Samuel Charters

Trinidad's great song form, the calypso, has always been a little like a rainbow in its place in Ameri­can popular music. When a calypsonian has a song on the popularity charts everybody talks about calypso, and when the song, like the rainbow, fades away, nobody talks about it until the next excitement. None of this has bothered the calypsonians, who have gone on writing and singing their songs for Carnival Day without taking too much notice, but it has meant that the real calyps0 tradition is almost unknown in the United States and names like Atilla, Carresser, Radio, and Executor -­even the young, fine Mighty Sparrow -- still have none of the aura of exuberant excitement that they would in a less emotionally stifled society than contemporary America. But the calypso tradition is still vividly alive and still creative, and there will still be occasional flurries of excitement in the United States over a singer or a song, and perhaps -- finally --some real interest in the richness and the exuberance of the calypso form. Until then this collection of songs from the golden period of calypso writing is intended as an introduction to the style itself and to some great calypsonians.

The best short historical introduction to calypso was published in Sing Out! in November, 1964, J. D. Elder's "Calypso: A Living Tradition in the West Indies, " commenting on some of the calypso back­grounds and the early singers.

"Calypsos are the Carnival songs of Trinidad and Tobago composed and sung by professional singers (calypsonians) mainly in temporary theatres or "tents" during Carnival seasons. In many islands of the Caribbean, there are calypso-like songs -- e. g., the shanto of British Guiana, the plena of Puerto Rico, and the mento of Jamaica -- but the calypso of Trinidad and Tobago, called cariso by Atilla (Raymond Quevedo), stands apart on its own because of characteristics peculiar to itself. Among these traits are: the "half­tone" (strong syncopation) in its rhythmic system, the topicality, its tendency to satirize upon every con­ceivable subject, its allusion and open picong, and its double entendre.

"If we go back as far as we may into the musical history of Trinidad and Tobaco (both Edric Connor and Alfred Mendes have attempted analytical musical histories with rather sketchy results), we find a body of popular music from which the calypso has precari­ously emerged over some 300 years into the celebrated song it is today. The Negroes (1648), the Spaniards (1502), the French Creoles from Martinique and Guadeloupe (1783), the East Indian (1845), and the English (1797) have all contributed to the musical mixture out of which calypso has gradually evolved. The Creole dialect words (the rustic French dialect spoken by people whose ancestors came to Trinidad from the neighboring French colonies) for the early carisos, the polyrhythm of the calypso tempo, the biting vitriolic social commentary on every subject imaginable noted by Bryan Edwards1 in the slavery days narrative ballads, all are the relics that calypso has retained from this rich musical heritage.

"The calypso is truly the national song of Trinidad and Tobago. All the ethniC groups in the country have made contrirutions, historically speaking, to its present form, and the life story of all the racial group­ings have formed the subjects with which the calypson­ians deal -- their pleasures, their tribulations, their religions, politics, food, housing -- nothing escaped this exciting song, not even the hidden secrets of

royalty as in this song (Lord Carresser's "Abdication" on the abdication of the kingship of England by Edward, a royal prince):

Love, love alone Cause King Edward to lose his throne.

"In the early days, the chantwelle sang his pugilistic kalinda songs in the city backyards (Lacou Harpe, Lacou Pembwa, Cor beau Town) to accompany the Bois bataille or stick-fight -- a kind of game in which dueling with hardwood sticks was performed to drum music. After Emancipation in 1838, when canboulay kalinda (stick-fighting) and canboulay (literally, "cane burning") were taken by the Negroes into the Carnival, there was resentment by the upper class and 43 years later an attempt by the police to suppress kalinda resulted in the Canboulay Riot of 1881. After that, kalinda Singing and stick-fighting went underground in the urban areas, but in the rural areas, they never died.

"In the towns, the kalinda chantwelle them gave way to the calypsonian. The old "kalinda yards" were replaced by the Carnival tents where people met from November of each year to listen to the members of bands2 as they rehearsed the calypsos for next year's Carnival. The kalinda drums were no longer used for tent singing. Bamboo drums (tambour' bamboo) were introduced around 1901. The melodic line of the calypso remained "single-toned" -- four-line stanzas with a final line for the chorus. The old kalinda refrain, "Sans d'humanite, " was retained as a song-ending as late as 1928.

"After 1928, the longer oratorial type of song was introduced by singers like Lord Executor (Garcia) and Atilla the Hun (Raymond Quevedo). In this period arose the duet performance in which two calypsonians would sing a narrative, passing it, as it progressed, from Singer to singer. This departure from the old African "solo-call chorus" method was important since it involved more cooperation and reduced conflict. There were even attempts at quartets (Nap Heburn's "March of Dimes" is a contemporary survivor). Some old calypsos manifest both kinship to the African secular narrative ballads3 as well as reflect the pugilism of the old kalinda stick music. Among these old songs may be mentioned:

and

1. Ja Ja Romy Aye Ja Ja Romy Shango (African)

2. Se vrai Ou pa connait danje Ding ding why, why.

(Translation: It is true you do not know danger/ Ding ding, why? why?)

"These two famous old songs have returned over and over again in new versions as far as the texts are concerned, but the melody remained. "Ding Ding, Why Why" was adopted as the campaign song for a famous Trinidad war veteran turned labor leader. It ran as follows:

Young girl Who you voting for? Cipriani --We don't want Major Rust To make bassa-bassa here -­Ambas caille-Ial

The tune used was identical with the ancient kalinda song, the refrain of which ran:

Depi mama fe mwe Nom pa ka ba nwe bwa En bataille - - la

(Translation: Since my mother made me, man never beat me in battle.)

"Some of the really famous .:alypsos that have made history are really melodies introduced from other Caribbean islands and arranged for new texts composed by Trinidad singers. 4 Among the most cele­grated examples are "Go 'Way Jestina" (Tobago), "Payned Dead" (Barbados), "Sly Mongoose" (Jamaica), "Last Train for San Fernando" (Guadeloupe), "Who Dead? Caanan" (Grenadines), and "Rum and Coca­Cola" (Martinique).

"In the mouth of the Tr inidad singer, these simple songs jumped to rhythmic life and the new words, with their vitriolic peppery picong, assumed a new galvanic appeal. Truly, the Trinidad calypsonian is a master of the art and cannot be imitated.

"The hall of fame of calypso singing is decorated with the names of celebrated singers, many of whom, in exasperation over the hesitancy5 with which calypso was accepted as art mus ic, left their country to sing abroad. Among these are Lion, Houdini, Melody, and Kitchener. We can never, in the history of popu­lar music, forget the early singers like Carreser, Spoiler, Dictator, Tiger, Kitchener, RadiO, Lady Iere, Douglas, etc. But the giants6 among them all were Lord Executor (Garcia) and Atilla (Raymond Quevedo), two singers of exceptional fame whose calypsos were of such musical excellence and whose iJallads were so critical of the life and times in which they lived that the social history of Trinidad and Tobago can hardly be written without mention of the influence their songs had upon the social and political life of the era in which they lived. "

1 Bryan Edwards is the author of a very informative work on Carribean social and political life, History, Civil and Commercial, of the British Colonies in the West Indies, in which he concludes (Book Four) that the "Negroes were not gifted with a sense of harmony" and were unable to hear musical sounds.

2 All maskers and Carnival players belong to tempo­rary organizations called bands after the old stick­fighting groups that preceded modern Carnival in Trinidad. Each band has a leader who is responsible for "bringing ~t the band, " i. e., deciding on what is to be portrayi" getting costumes made, and register­ing the band for competition on Carnival days. Some bandleaders are craftsmen, and are experts at de­signing costumes in fabric, wood, metal, shells, etc.

3 The fundamental purpose of a calypso song is to give an account of some incident. Its economy of words, wit, and satirical nature are what makes it unique.

4 No other island besides Trinidad has produced, to date, any universally-acclaimed calypso singer of the eminence of Radio, Executor, or Melody, all of the "Old Brigade, " nor has anyone reached the prominence of Francisco Slinger (Mighty Sparrow). Calypso sing­ing has reached a most advanced standard in Trinidad.

2

Many students have attempted to account for this fact with unconvincing arguments.

5 The calypso has had a very tur bulent history in its ascent to acceptance by all classes in the Trinidad community. Branded in the last half of the 18th century as "a vulgar dance for loose women, " it was taken into the Carnivals - as song only - and, until the middle of the present century, was the subject of much prohibitive legislation. Today, there is no question that it is accepted as the national song of the country.

6 The great names in this tradition are Marlborough, Lion, Growling Tiger, Executor, Fanto, Atilla the Hun, Radio, and Melody.

Most of the fourteen songs in this collection were recorded during the 1930's -- as is obvious from the subjects of most of the songs. The earliest -- Sam Manning's "Let Go My Hand" from 1927 --is not a true calypso, but since Manning was one of the first West Indian singers to get to the United States, one of his pieces was included. The range of the songs is wide, from the genuine sadness of Caresser's "Edward the vm" -- certainly one of the major folk ballads of the last forty years -- to the dadaist absurdity of Sir Lancelot's "G-Man Hoover. " There are moments of SOCial concern, some rhymed insult as Executor, Caresser, Atilla, and Lion talk about their contemporary Wilmouth Houdini, who had just come back to Trinidad after a few months of singing in New York,. comments on Bing Crosby, the Mills Brothers, the first Louis-Schmeling fight -- just about anything that the singers were thinking about. Lord Invader -- recorded by Moses AIlCh in 1946 -­was the most openly critical of the United States, but there was an encouraging irreverence in all of them. What little calypso does get into the United States. usually has been pruned and trimmed before it's heard. In these pieces there is some of the spirit and the excitement of the real calypso.

SIDE A. Band 1. The Caresser -- "Edward the vm"

CHORUS

It's love, love alone, that caused King Edward to leave the throne.

It's love, love alone, that caused King Edward to leave the throne. (repeat)

We know Edward is noble and great, But love caused him to abdicate.

CHORUS

Oh, what a sad disappointment Was endured by that British government.

CHORUS

On the tenth of December we heard a talk That he gave the throne to the Duke of York.

CHORUS

I'm sorry my mother is going to grieve But I cannot help, I'm bound to leave.

CHORUS

Lord Baldwin tried to break down his plan, He said come what (may?) the American.

CHORUS

We got the money, we got the talk, And the fancy walk just to suit New York.

CHORUS

And if I can't get a boat to set me free, Well, I'll walk to Miss Simpson across the sea.

CHORUS

He said, "My robes and my crown is upon my mind,

But I cannot leave Miss Simpson behind. "

CHORUS

They could take my throne, they could take my crown,

But these me and Miss Simpson renounce.

CHORUS

You should see Miss Simpson walk in the street, She could call an angel with the body beat.

CHORUS

Let the organ roll, let the church bell ring, Good luck to our second bachelor king.

CHORUS

N ow on the annals of history, He has left a record for intensity.

CHORUS

Band 2. The Lion -- "Bing Crosby"

Of all the world's famous singers That I have ever seen on the movie (repeat)

screen, Lawrence Tibbett and Nelson Eddy, Donald Novis and Morton Downey, Kenny Baker and Rudy Vallee, But the crooning prodigy is Bing Crosby.

Bing has a way of singing With his very heart and soul Which captivates the world, His millions of listeners never fail to rejoice At his golden voice. They love to hear him "La da de da. " (whistles) So sweetly and with such harmony Thrilling the world with his melody.

Mention must be made of Bing's romantic life Centered on his wife, As lovely as the soft tales of poetic dreams Her smile is like the moonbeams. A former star, we know she can sing, But now her voice she has reserved For her sons and Bing. To be so happy must be Bing Crosby That he has married a beauty like Dixie Lee.

I wonder if you heard him singing the song "May I Be The Only One To Say Aye." And yet I wonder if you heard again, "Every time it rains it rains pennies from

heaven." But "Love Thy Neighbor" was a most thrilling

song,

:3

And "Get Along, Little Doggies, Get Along. " So sweetly and with such harmony Thrilling the world with his melody.

Bing has a most interesting personality Beloved universally. He has two pet race horses, Double-Trouble

and Licarocky, Pipe smoking is his hobby, He has a queer eccentricity, He takes off his hat very infrequently, So, one and all, let's unanimously, Shout three cheers for this golden voice prodigy.

Band 3. The Atilla and The Lion -- "Louis­Schmeling Fight"

The Atilla: The fight between Schmeling and

Joe Louis Is an epic in boxing history, (repeat) The critics said the Bomber lost the fight that

night, Because he couldn't stop Max's smashing right, 'Tho a disappOintment he has now faced, He has been defeated but not disgraced.

Joe Louis was born in obscurity And judged by the world a boxing prodigy, In a few short years he has traveled far, A shining star iI\ fistiana. Acclaimed by even the most critical As being spectacular and phenomenal, He achieved in one year as is known by you What it took the champions a life-time to do.

The Lion; As an admirer of Joe Louis We were ... bound to agree, I do appreCiate your song, but On the night of the fight something was wrong. It wasn't the same Bomber that we saw Smashing Carnerra o'er the floor, I wouldn't say 'twas dope or conspiracy, But the whole thing looked extremely funny to me.

The Atilla: He's now waging a come-back campaign, And none can deny he'S making his name.

The Lion: Whoever the Bomber meets, come what may, He means to overcome them, to kill and slay.

The Atilla: Pay no attention to what you've been told,

The Lion: He's bound to beat the champion now of the

world.

The Atilla: And 'tho he has absorbed so much pain,

Together: Well, Schmeling wouldn't like to meet him

again.

Band 4. Gerald Clark and His Calypso Orchestra, vocal by Sir Lancelot -- "G-Man Hoover"

r

r CHORUS ABC DE F G, G-Man Hoover.

Rat-ta-tat, tat, rat-ta-tat, tat. (repeat) Rat-ta-tat, tat, rat-ta-tat, G-Man Hoover.

Criminals come but they have one way to go, Gangsters are dumb for by now they ought to

know,

Hoover will bring them to the electric chair.

CHORUS Stick up a bank, grab the dough, get out of

town, Get yourself a gun 'cause you love to mow 'em

down, Shave off your beard, change the color of your

hair, Step out the door, there's Hoover waiting there.

ABC DE F G, G-Man Hoover.

You're so smart, cruel, has no heart, fool, You were bad, he was smoother, What, they laughed, G- Man Hoover.

CHORUS

Kidnap a child 'cause to you he'S just a brat, His mother's wild, she's afraid you'll use your

gat, Money's your aim and you take it on the lam, Mud is your name, Hoover always gets his man.

ABC D E"F G, G-Man G-Man Hoover.

You can go now, don't dare go, now, It's a frame, you're a loser, To the game, G-Man Hoover.

CHORUS

Band 5. Executor, Caresser, Atilla, Lion -- ''War''

Executor: At last the hour of vengence is at hand, (repeat) I am in the land. The Lord Executor's word of command, With my glittering sword in hand. Tell Houdini, this is the hour of destiny In this colony.

Caresser: Those who boast Houdini can Sing, In my opinion they know nothing. For it's all propaganda, deceit and pretense, He hasn't got the shadow of intelligence. The money that was spent on his slates and

books, Has not improved his manners and looks, He has a good inclination but foreign education In this colony.

Many boast of their intelligence While the audience has observed their

incompetence, The rattling of their tongue with the musical

time Cannot make their observors feel that they are

sublime, Knowledge does not increase the understanding

well, It was written in a book that others should tell, Seek graduation, and then approbation As a calypsonian.

4

Atilla:

Lion:

From the very first day that I was born Men like Houdini started to mourn, Rulers wept and princes cried When they saw this new star up in the sky, Astronomers in my horoscope stated, He'll be proud, illustrious and great, And they named me Atilla, the terror, the

brutal conqueror, Master, be mine now.

The earth is a trembling and a tumbling And the heavens are falling and all Because the Lion is roaring. My tongue is like the blast of a gunman

Destruction, desolation and damnation -­All these I'll inflict on insubordination, For the Lion in his power is like the rock of

Gibraltor.

Band 6. Atilla the Hun -- "Five Year Plan"

Happy days are coming back again, Join with me and sing a sweet refrain, The government has got a five year plan That will relieve the depression, No more starvation, emancipation is here.

Public works are being started right away, So we have cause to be happy and gay, These gigantic things we're going to do Will find work for me and you, No more starvation, emancipation is here.

A mamouth engineering job has been executed I mean the harbor scene that just has been

completed, Port-au-Spain will hold her place, As the premier city in the West Indies, No more starvation, emancipation is here.

Soon a marked improvement we all will see, A happy tidal wave of prosperity, We'll be able to maintain our family In comfort and in luxury, No more starvation, emancipation is here.

Band 7. Lord Invader - - "Yankee Dollar"

I had a pretty baby who confessed she loved me, And she's from respectable family, And she said that she had a soldier Who was treating her much better, Uh huh, she don't want no native fella. So she told me plainly, She love Yankee money, And she said, Lord Invader, Money for to find rum and coca-cola, Don't bother, if you know you ain't Got the Yankee dollar.

I started to chide the lady, I pleaded so impressively, I showed her a lot of English money, But she made me to understand She don't want no Trinidadian, He must be an American or either a Puerto

Rican. So she told me plainly, She love Yankee money, And she said, etc.

They got some girls in Port-au-Spain,

Some of them ain't got no shame, Yes, I know they're not -- but I won't call names. And if you see them around the corner To approach them don't you bother, Uh huh, don't you know they're dropping some

Yankee soldier. They will tell you plainly They love Yankee money, And she said, etc.

But now the war is over Trinidad is getting harder, Some of the young girls go in for ... No more Yankee dollars they're spending, Now they're hustling for their usual shilling. They will tell you plainly They love Yankee money, And she said, etc.

SIDE B. Band 1. The Lion -- "Four Mills Brothers"

Among the singers on the movie screen, The Negroes are the best I ever heard (repeat)

that sing, Morton Downey went to a singing school, But the four Mills Brothers, they're sweet and

cool, I ain't got nobody, Lord, and nobody cares for

me.

Well, Bing Crosby was interesting Starring in the picture. . . For instance, on the ship the princess near died, When he crooned to her his song "Call Me, " And on the beach made his name singing "Love

Thy Neighbor," But I still prefer to hear the four Mills Brothers

sing I ain't got nobody, and nobody cares for me.

The best crooner is Rudy Vallee, But for voice control is Mr. Bing Crosby, From motion pictures we know Bela Lugosi.

Mae West of course is a (bare faced singer), But I still prefer to hear the four Mills

Brothers sing I ain't got nobody, and nobody cares for me. For those of you who've seen "The Big

Broadcast, " Cab Calloway, well, he was unsurpassed, For when his orchestra started syncopating, It got so peppy that he bent his (starched knees), And when he did his "Hi de ho hallelulah, " Was accompanied by the four Mills Brothers

singing I ain't got nobody, and nobody cares for me.

Band 2. The Tiger -- "Money is King"

If a man has money today People don't care if he has . . . (repeat) He can commit murder and get off free, And live in the governor's company, But if you are poor, People will tell you sure That a dog is better than you.

If you have money to buy in a store, The boss will shake your hands at the door, Call them clerks to take down everything, Whiskey, cloth, herrings, and diamond rings, You may take them to your house on a motor

bike,

!5

You can pay the bills whenever you like, Not a soul will ask you a thing, They know very well that money is king.

A man with a collar and tie and waistcoat, Half the time he ... The chinaman you'd better move him from the

frying pan, You college men know the ABC,

. . . to jump on a man's belly, And he cried out, a dog is better than me. A dog can walk about and take a bone,

If it's a good breed and not too wild, Some people will take it and mind as a child, But when a hungry man goes out to beg They'll set a bulldog behind his leg, For the policeman may chalk him down too, You see why a dog is better than you.

If you have money and thing's going nice Any woman will call you honey and spice, If you don't bring her a dress and a new pair

of shoes, She'll say she has no use for you, You try to caress her, she will tell you proper, I can't carry love in the Chinese shopper (?) So most of you will agree that it's true, If you haven't money, dog is better than you.

Band 3. Lord Beginner -- "Always Marry a Pretty Woman"

There's an argument going around the world, (repeat)

All about the pretty and ugly girls. They say the pretty girl, she may make you

shame, Because she has the looks so she cannot be

blamed. But if you want troubles and misery, Give an ugly woman matrimony.

With an ugly woman you wouldn't have a friend, And your happy days bound to meet an end, If you and her are invited to a dance, You will be only taking a sporting chance. While happy couples are dancing around, You will be the laughing stock on the town, But if you want troubles and misery, Give an ugly woman matrimony.

A pretty girl will be the pride of your heart, She wouldn't have to make her purse to look

smart. Pretty dresses will fill her heart with joy, And she's bound to call you papa toyloy. Give her what she needs and then she won't

frown, And I'm sure that she wouldn't let you down, But if you want troubles and misery, Give an ugly woman matrimony.

If you're looking for a girl friend to make you glad,

Don't take an ugly woman to make you sad, For at night when you're going to sleep you will

frown, When you watch her feet in her long nightgown. To make a little joke you .won't have the face, When you take a peep at her (jaguar) face, If you want troubles and misery, Give an ugly woman matrimony.

Band 4. Lord Invader -- ''New York Subway"

When I first landed in the U. S. A. Listen how I got lost on the subway. I had a date with a chick and I went to

Brooklyn,

(repeat)

But I couldn't find my way back the following morning,

I had money yet I had to roam, And still I couldn't get a cab to drop me back

home.

I met a cop and told him I'm a stranger, Lord Invader, a calypso singer. I live in Harlem, I came yesterday, Now I want to go home and I can't find my way. He told me walk back three blocks in the

opposite direction, Go to the subway and take the uptown train. I got confused, I was in a heat, I couldn't find my way to 125th Street.

I came out the subway and I didn't know what to do,

Looking for someone to help me through, You talk about people as bad as crabs, Is the drivers who drive in the taxi cabs. Some passed and looked empty And yet wouldn't stop, Some say they have no gas So they tell me to drop. I had money yet I had to roam, And still I couldn't get a cab to drop me back

home.

I controlled myself and started to walk, I said I happened to go through to one in New

York, So I decided to leave the Jews alone, If they want to see me, they must come to my

home. Because New York is so big it takes a year and

a day For anyone 'to get accustomed to the subway, I had money and yet I had to roam, And still I couldn't get a cab to drop me back

home.

Band 5. The Executor -- "Three Friends Advice"

According to . .. my friends and relations,

They gave me their opinion, One said join the Shouters band, Another said be an . .. man;

CHORUS: Be still . .. I know,

(repeat)

I think I'm going to learn to dance the tango.

I was told by a certain friend who introduced me then to the Shouter's den,

An officer . .. that I went through, We sang Moses, Moses, take off thy shoe, I fasted for forty days singing hymns, Then they ducked me in the river but I couldn't

swim;

CHORUS

In two weeks time then I got so fat again, Imagine friend, what was the cause of that, Stew and fried (macaroni) that in the meeting

the sisters would give to me, . .. and the leggings to lace up tight;

6

CHORUS Soon after that I grasped a different plan, And decided to be an . .. man, Around my neck I had a ... And the beard that I had was like ... The shirt on my bosom was a (motor car bag), And the coat on my back was a . .. rag;

CHORUS

Now listen, friend, what I had in my room, Was a grinning ... with the face of gloom, A dancing peacock painted in red, With a jumping croco without a head, Three blind mice and a ... snake, And a big tar baby to walk and shake;

CHORUS

Band 6. Sam Manning -- "Let Go My Hand"

Now listen, Miss Dinah Lee, Pray, will you keep away from me, I've got myself a sweet West Indian girl,

She has promised to marry me, Take me down to the West Indies, Keep away, Dinah Lee, keep away.

Let go my hand, Dinah Lee, Please let go my hand, I've got myself a sweet West Indian girl.

I've made up my mind to go Down where the coconuts grow, Let go, Dinah Lee, let go.

I know we're going to be happy as happy can be, If she don't make a monkey of me, Let go, Dinah Lee, please let go.

Let go my hand, Dinah Lee, Please let go my hand, I've got myself a sweet West Indian girl.

She comes from the land of the (cockadoo ),

Let go, Dinah Lee, please let go.

Band 7. The Atilla -- "Miss Bombilla Brown"

(repeat)

Miss Bombilla Brown, Miss Bombilla Brown, She is undoubtedly the nicest girl you've got in

town. Her magnetic eyes hold you hypnotized, And when you fall for her, oh boy, you won't

realize. And when she walks around and roll her hips,

roll her hips, You want to Sip that nectar from her ruby lips,

ruby lips. No wonder all the boys in town Shout what a gal is Bombilla Brown.

Miss Bombilla Brown, a West Indian gal, Oh, what a break when she makes you her pal. Happy as can be, you know ecstacy, For she's a princess in the art of romanticity. And when you hold her 'neath a coconut palm,

coconut palm, You'll feel you've got a bit of heaven in your

arm, For she's the queen of beauty in the town, I mean that gal, Miss Bombilla Brown.

LITHO IN U,S.A. ~U9